The third and presumably final chapter in one of the most successful video games-turned-motion pictures makes its bloody swan song, bringing back the exotic Milla Jovovich as the zombie zealot, Alice, on a mission to dead the undead. “Resident Evil: Extinction” is still laughably (thankfully) ridiculous, but much larger in scope and scale than its predecessors. The three films, and specifically “Extinction” have a silly, undeniably addictive horror-sci-fi mash-up quality that never tires.

The opening sequence to the film reminds the audience that it’s still in the comfortable, ludicrous world of the “Resident Evil” series. The Umbrella Corporation – who apparently has a knack for building kick-ass, hive-like offices well below Earth’s surface – is hiding out somewhere in the Nevada desert. The entrance to the facility is disguised as an old shack, but that doesn’t fool the hundreds of robotic zombies that weakly pull and shake the plain chain link fence that “protects” the facility. Really? A chain link fence? With all their technology, the best perimeter protection they can manage is what anyone can buy at Home Depot? This glaring gap in detail is resident through the “Resident” series. Such shortfalls are simply laughed off, accepted and forgotten.

The nefarious Umbrella Corp is below the surface, since the zombie nation has gone the way of Starbucks and spread across the globe. Somehow, when the undead inhabits a land it turns said geography into a barren wasteland overcome by sand. There’s surely an environmental reaction or reasoning for this, but that doesn’t really matter, naturally.

With the spread of the T-virus – the affliction that causes one to be a snarling zombie – Alice has taken to the road, staying “off the grid” and only stopping for gas and supplies. She meets up with fellow “Resident Evil” alums, Carlos (Oded Fehr) and L.J. (Mike Epps), along with other survivors during a scene that clearly bastardizes Alfred Hitchcock’s “The Birds.” Zombie crows attack the caravan of survivors in swarm-like fashion, only to be incinerated by Alice who manifests new psychic powers. Where did her new abilities come from? Who knows? Who cares?

“Resident Evil” is really more than just a movie of the plain ole zombie ilk, however. Whereas “Dawn of the Dead,” “28 Weeks Later,” “Land of the Dead,” and others largely focus on the creeping undead, “Evil” has an entire science fiction underbelly that makes things far more interesting. Alice has mysterious powers, Umbrella continues its science experiments and lethal exercise of its advanced technology, and each film ends in Ultimate Fighter fashion, pitting Alice against a monstrous creature that is anything but a normal zombie. “Extinction’s” final level-leviathan is something to behold, his handiwork reminiscent of “Hell Raiser’s” Pinhead.

Like the other two films, Milla gets plenty of opportunities to show her stuff, kicking and jumping and stabbing walking corpses in cheering fashion. But, really, do you need to stab a zombie in the crotch? Most scenes appear to just be vehicles for Milla to get a good workout.

Interestingly, though, the one detail of “Extinction” that was under constant regulation and scrutiny was Milla’s face. In almost every close-up shot of the actress, her face was enhanced, either through a lot of make-up, or more likely, CG smoothing in post-production. Her wrinkle-free, un-weathered face practically glows angelically in the hot Vegas sun as she fiercely cuts through the bad guys. Yet as with other similarly absurd points of the “Evil” series, it doesn’t really matter because it’s simply fun to watch.